Alive, as the name implies, aimed to give a kineticism to art for an audience who in all likeliness perceived art as static. It was also meant to make the audience consider the process of creating art.

The performance space was shaped as a Taijitu (better known as the symbolic representation of yin and yang). This reflected in the performance itself, which was a finely-tuned balance between creation and destruction as a means to the artistic aftermath.

The emphasis on the process instead of the finished pieces highlighted the chaos and tension that always surrounds the creation of art. Art is not created in a vacuum. Each artist interact with one another, and get inspired off each other. No art is free from external influences. That was made clear by this performance.

It also investigates how we often view art without the context surrounding it, and often the peripheral influences and events surrounding it are blocked off from our understanding.

Consider that the audience were seated in divided sections, all walled off from each other. As such, they can only view the performance from head on. Six pillars partially obstruct the performance space visually, adding to the narrowness of sight. Add the fact that the performance space is too large for one to see whole performance space all at once. The audience has no choice but to focus one part at a time, and often one artist at a time.

It is often said that an artist never finishes an art piece. They just stop working on it. This was a point hammered home in the performance too. At any point the performance could have stopped, and the art pieces will be as complete then as any point in time. The music furthers this point, with its latent threat of sudden silence, punctuated by dissonance and discordance. As the music stops, so does the performance, and the art pieces are complete.